1. Field of the Invention
The present invention relates generally to orchestral string instruments such as violins, violas, cellos and basses. More particularly, the present invention relates to a reduced size viola.
2. Related Art
The evolution of ensemble and orchestral music was significantly advanced with development of stringed instruments (violin, viola, cello and bass) that were collectively voiced to provide a full range of audio experience to the listener. FIG. 1 shows a traditional viola configuration 10, representing the basic components of the family of orchestral strings. Typically, these instruments have four strings 12, 14, 16, and 18 that are tuned at four sequential intervals separated by a musical fifth scale of notes. The four strings enable the player to play a continuous scale of notes by progressively depressing the strings against the fingerboard 20 at appropriate intervals. An upper harmonic range also exists where the strings of the instrument are not fully depressed against the fingerboard, but are merely touched by a finger to impose a stationary node along the string's length. By using a combination of depressed and harmonic tones, the string player can perform a very broad range of pitches with varying tone qualities on any one of the various stringed instruments.
The principle components of a typical orchestral stringed instrument include a scroll 22 that provides support for tuning pegs 24 coupled to each of the four strings. A nut 26 positions the strings above the fingerboard 20, which provides the fingering surface of the instrument. The fingerboard is supported by an elongate neck member 30 that is attached to the body 32 of the instrument. This body provides a resonant chamber for amplifying tones generated by plucking or bowing the strings. The body includes front 34 and back 35 members and sides 36 that collectively define the sound chamber. The sides include an upper bout 37, a lower bout 38 and an intermediate C-bout 39. A bridge 40 correctly positions the strings above the fingerboard and is located near f holes 42 and 44 which assist in projecting the sound beyond the instrument. The bridge is supported by a sound peg (not shown) positioned within the chamber below the bridge and between the front and back members. The strings connect to a tail piece 46, which in turn is coupled to a bottom end 48 of the instrument body.
As shown in FIG. 1, these components are classically configured symmetrically on opposite sides of a central axis 50 of the instrument. Specifically, the fingerboard, front and back, sides, f holes, tail piece and strings are spaced equally on opposite sides of the central axis in a substantial mirror image. This symmetry has been perpetuated for many centuries, preserving a classical shape that is well recognized by the public. More significantly, string players have become accustomed to this classic configuration and are generally inclined to expect stringed instruments to comply in shape with this expectation.
Aside from use as solo instruments and in chamber ensembles, these stringed instruments are most commonly found in the string section of an orchestra. The lowest audio frequencies within the string section of the orchestra are developed by the string bass, with low pitches extending down to a low E, almost three octaves below middle C (440 cps). To achieve such low tones, large diameter strings are used having a vibrating length of approximately 46 inches. This vibrating length is the distance between (i) the lower, supporting bridge positioned on the face of the instrument and (ii) the upper nut located at the upper end of the fingerboard. The nut and bridge serve to elevate the strings in close proximity above the fingerboard to allow the player to comfortably depress the string into contact with the fingerboard, thereby changing the associated pitch by the vibrating length measured between the bridge and the depressed position.
The upper range of the bass instrument generally extends into the several octaves below middle C. This upper range overlaps with the lower pitch range of the cello, which is the next instrument in the quartet of stringed instruments of the orchestra. The cello strings are tuned to C, G, D and A at separated fifth intervals immediately below middle C. The open string vibrating length is approximately 26½ inches. Accordingly, the space between notes of the scale on the cello is a shorter distance than on the bass. The pitch range of the cello extends approximately the same as the human voice, and much higher when including harmonic tones. The larger size of the bass and cello requires that the player address the instrument in an upright position, with the performer in a standing or seated position, The hand and fingers of the player are applied to the fingerboard from one side of the instrument, while the bowing hand approaches the strings from an opposite side of the instrument, moving the bow across one or more strings between the bridge and the fingerboard.
The upper strings of the string family are the viola and violin. The viola has a open string length of approximately 14¼ inches, slightly more than half the length of the cello and has a voice range that starts at C below middle C, and extends up through the sequential pitches of G, D and A respectively one octave above the cello strings. The vibrating string length of the violin is slightly shorter at approximately 13 inches, with the low string tuned to G above middle C. The three upper strings extend through the range of fifth intervals from D, A and E. The body of the violin is significantly smaller in volume than the viola and consequently has a higher, usually thinner sound quality.
The beauty of the viola, particularly within the blend of the orchestra, is its deeper, rich tone quality. Naturally, this is partially the result of the larger volume within the housing or resonant chamber of the instrument. Both the violin and viola are played in a raised, horizontal position, with the lower part of the instrument captured between the shoulder and chin of the player. Both the fingering hand and the bow hand are applied to the strings from the same side of the instrument, in contrast to the bass and cello.
Because of the similar size of the viola and violin, violinists are often requested and/or inclined to play the viola. For example, viola players are fewer in number than violinists and may be recruited from a more numerous violin section of the orchestra. Although technique is approximately the same, the greater length of the viola requires a noticeably larger spacing fingering positions than on the violin. This larger size also imposes an unnatural extension of the fingering hand and arm for a violinist. This awkward position can cause tendonitis, carpel tunnel syndrome or other maladies with continuous playing. Furthermore, it makes interchange of the instruments more difficult because of the required adjustments in hand position for the longer viola. In other words, when a violinist plays a viola, the intricate fingering movements of the performer must not only be adjusted to a slightly wider pitch interval due to longer string lengths, but the player must make these adjustments at a displaced hand distance from his body that extends beyond his violin position by an additional inch or two. This additional distance mandates changes in position for the shoulder, elbow and wrist, as well as fingers.
In view of the enumerated challenges attendant to interchanging use between the violin and viola, some attempts have been made to reduce viola size. Typically, however, a reduction in viola length has resulted in loss of rich tone quality. It has been found, for example, that merely reducing the length of the fingerboard and neck on the viola seriously affects the quality of the rich viola sound. Similarly, reducing the size and length of the viola body compromises the deeper tone quality of the viola. Accordingly, the traditional size differences of the violin and viola have been maintained down through the centuries, requiring violinists to manage the limitations of interchanging performance with both violin and viola as best they can.